"Splatterhouse" - During the nearly 2 years the project was in development I was the lead environment artist. I was responsible for management of the environment team. From the start of the project, it was my responsibility to deal with all aspects of the group as well as asset creation. This included all scheduling, management and overall quality control.
I was also the contact person for all other departments. I played a large part in developing the game's environment pipeline by working with the engineers and tech artists to find the best possible way to create the environments. As environment lead, I was ultimately responsible for the quality and direction of the final product.
"Xiaolin Showdown" was released in 2007 by Konami. After releasing "Rise of the Kasai" BottleRocket began the search for more work. Publishers were reluctant to sign a game with a company that it perceived to have no "next gen" experience. Xiaolin Showdown was our transitionary project.
Although it was not a next gen project, it did force us to take our previous engine and modify it to fit the type of game Konami wanted. As environment lead it was my responsibility to establish techniques that would most effectively translate the art style of the TV show. I would often lead by example, creating levels to demonstrate ways that best recreate the show's look and feel.
"Rise of the Kasai" was released in 2005 by Sony Computer Entertainment. It was created by BottleRocket Entertainment as the sequel to the award winning "Mark of Kri". BottleRocket Entertainment was formed after the completion of the "Mark of Kri" by core members of the original Sony team.
During the development of "Rise of the Kasai" I took a very "hands on" approach to the management of the environment team. I would often lead by example by creating level assets to demonstrate methods and techniques in an effort to maintain a consistent style throughout the game. This would be done while scheduling, managing the team and tracking their collective progress toward our end goal.
I was involved with the creation of every level in "Rise of the Kasai" in one way or another. Providing direction and quality control was my primary responsibility as well as team management and schedule creation and tracking.
On "The Mark of Kri" I performed many roles. When the project began I was the Producer and lead designer. I, and other members of the design team, developed the games award winning trademark combat system. Although I was less involved with the artistic side of the game during the early stages of the project I managed to provide input for critical decisions on style and direction.
As Producer and designer my responsibilities were to manage the team, coordinate and track schedules and milestones, create concept and design documents and meet with upper management to discuss progress.
When "The Mark of Kri" was completed and the team split off to become BottleRocket Entertainment I was happy to once again put all my effort into the more artistic aspects of game development. As Environment Lead I was able to take the management experience I gained working on "The Mark of Kri" and focus it more directly into shaping the overall look and feel of the sequel.
"Blasto" was my first title as Senior artist. The Blasto team was relatively small in comparison to teams I would work with in the future. As Senior artist my primary responsiblitly was the management of the level modeling staff. I was responsible for making sure the creative vision of the Concept artist was followed as closely as possible.
Blasto was also my first exposure to assisting in level design. Meetings were constantly conducted to work out issues with how levels were playing. I would often be asked to make changes to levels that followed strict design parameters but I was also allowed to be creative and use my imagination to solve problems in creative and unique ways.
Once the project was completed I was offered a position in SCEA's San Diego Studio as a Producer.
In 1994 I moved to Apogee Software. "Rise of the Triad" was already well under development when I joined the team. My contribution to the project was mostly in the area of sprite creation as well as creating images for the player weapons and Power-Ups.
I was also the first to bring 3D software into the development process at Apogee, creating sprites in 3D Studio so they could be rendered instead of creating sprite frames by hand.
Player weapons were my other main responsibility. I created 3D models of weapons (as well as video capturing real weapons) and combined them with video captures of real hands to create realistic looking weapons. I also, during this time, created weapons for "Duke Nukem 3D" in a similar fashion.
I was also responsible for creating images for the cinematic sequences as well as other front end elements.
My career in video games began with a small "shareware" game called "RAPTOR- Call of the Shadows". It began simply as a way to turn around a quick game and make some money for a very small garage development team. The project eventually became larger and larger at the request of our publisher and what started as a one month project grew to a 2 year development cycle.
During the initial phases of the game I was the sole artist on the project responsible for creating ALL art assets for the game. As production continued another artist was hired to help with asset creation.
My responsibilities on "Raptor" included sprite creation, environment tile creation as well as front end graphics and cinematic sequences.
After "Raptor" was published in 1994 I left Cygnus Software and went to work for Apogee Software on "Rise of the Triad"
Adayana Government Group primarily deals with training software for different branches of the military and government.
My primary role was helping to establish a gameware development group that could take advantage of current commercial practices and apply them to learning solutions.